Among three lenses, presented on the day of the launch of the Fujifilm mirrorless system, there was the Fujinon XF 60 mm f/2.4 R Macro. We have already published our reviews of two other lenses, and it's about time to present test results of the third one. Enjoy!

The Canon EOS 6D is something of an oddity in digital camera terms, having been in continuous production for almost five years. But finally, the time has come for an update to one of Canon's most popular models, and it has arrived in the shape of the EOS 6D Mark II.

Unusually for a new Canon product, we had the chance earlier this month to use a late pre-production EOS 6D Mark II ahead of its official announcement. What follows is a first take on how the camera performs, based on a two-day shooting excursion, organized by Canon, to the Yellowstone National Park in Wyoming.

A great looking cameraOur first impression of the X-T20: 'that's going to generate a lot of comments.' And there's one simple reason for that: the X-T20 is an awful lot of X-T2 for a lot less money.

This probably shouldn't be a surprise: the X-T20 has the same relationship to the X-T2 as the X-T10 did to the X-T1. The only difference is how quickly the smaller camera has followed on its big brother's heels.

The sixteen month gap between the launch of the X-T1 and X-T10 softened the blow of Fujifilm offering much of the T1's spec at a lower price. But X-T2 owners are likely to flinch slightly at the sight of a camera with such similar spec announced only four months after the T2 hit the shelves, and the knowledge that it'll be another month before anyone can get hold of one is unlikely to ameliorate the sting.

The Fujifilm X-T2 is an updated version of the company's top-level DSLR-shaped APS-C camera. It's built around the same 24MP X-Trans sensor as the X-Pro2 but ends up being much more than an X-T1 with more pixels. Instead, the X-T2 is a camera that does much to address the X-System's remaining weaknesses, which can only broaden its already considerable appeal.

The Chinese Yongnuo brand name has been progressing by leaps and bounds. Soon after the launch of the YN 50 mm f/1.8 the producers announced the YN 35 mm f/2.0 and the YN 50 mm f/1.4. The company also suggested that in the future they wouldn’t limit themselves to just Canon mount lenses and their line-up would also feature F Nikon mount instruments.Our detailed test of the Yongnuo YN 50 mm f/1.8 showed that you don’t deal here with simply a clone of the Canon EF 50 mm f/1.8 II. Apart from small changes in the casing and the inner construction the Chinese lens also had a better aperture and a bit different optics. One glance at the YN 35 mm f/2.0 and you know that there might be even more differences between that device and the Canon EF 35 mm f/2.0. Of course we decided to check it out very thoroughly anyway.

We would like to thank the FoxFoto company for lending us one specimen of the lens for testing purposes.

A few weeks back we reviewed an exciting product from a newcomer company - the Laowa 105mm f/2 STF. The characteristics of this lens are truly exciting and, even better, the performance is also top notch. Laowa is about to release another unusual lens - the Laowa 12mm f/2.8 Zero-D - a fully corrected, ultra-wide full format lens which will be available in Canon, Nikon AI, Pentax K and Sony A- & E-mount (September 2016). Laowa provided us with a prototype just prior of the launch. The project will be partially funded via Kickstarter. The final retail price will be 949US$ but if you are bold, brave and especially fast, you may get a discounted one for 649US$ in the campaign. While you may think that the pricing is steep, you should be aware that the Canon EF 11-24mm f/4 USM L or Canon EF 14mm f/2.8 USM L II have a far higher price tag.Please note that lenses as extreme as the Laowa 12mm f/2.8 are notoriously difficult to master in terms of image composition. While Laowa promises very low distortions, it is challenging to avoid a vanishing point effect due to perspective distortions unless you keep your camera strictly leveled. Primary applications are architecture photography or in-room scenes. Extreme close-ups and landscapes should also be interesting.

When Nikon started upgrading its range of affordable fast primes, probably every Nikonian had its own personal wish list of fairly outdated AF-D primes that' he'd like to see a modern age equivalent to soon. The AF-D 20/2.8, design-wise dating back to the good-old days when autofocus was still something really exciting, must have been on many of them.Nikon eventually announced the long-awaited AF-S 20mm ahead of photokina 2014, making it much faster than the previous offering (f/1.8 instead of f/2.8), adding a silent-wave AF drive to make it compatible with all current Nikon DSLRs and even added their Nano Crystal Coat on top.

Nikon's AF-P 10-20mm F4.5-5.6 DX is the company's latest lens specifically designed for its crop-sensor camera bodies. It may have a plastic mount, but with a 35mm-equivalent focal range of 15-30mm, it is a versatile yet affordable lens for those looking for a wider view than the kit lens has to offer without breaking the bank. See how it performs from the inner streets of Seattle to the remote, sandy beaches of Washington's coast.

The Sony a9 made headlines shortly after its announcement due in no small part to its laundry list of impressive specifications. With 20fps burst shooting, 693 autofocus points and a 3.7m dot electronic OLED viewfinder with no blackout at all in continuous shooting, this camera's got some serious specs and Sony has made some serious claims about its performance.

During our time in New York for the announcement, we were able to learn the ins-and-outs of the camera while photographing hockey players, figure skaters, and a full-on track meet to see just how the camera fared - and it fared well. But don't take our word for it, check it out for yourself in our real world samples gallery. The AF system combined with 20 fps allowed us to nail the exact moment, while the excellent JPEG engine retained detail and minimized noise even at ISOs in the thousands.

I must admit that at first I wasn't too excited when Nikon announced the AF-S 105mm f/1.4E ED. Those specs, f/1.4 at 105mm, that really sounded a bit too ambitious. Probably a lens focused on 'character' rather than performance, a blown-up tele version of the bokehlicious AF-S 58/1.4. Even the high price (currently retailing for around 2300 EUR) fitted this initial perception.

Seeing the MTF charts published by Nikon changed that impression, though. And first reviews and early adopters confirmed that Nikon obviously didn't add just another f/1.4 to their portfolio, but in fact delivered a very capable lens.

Fujifilm has announced the fourth in its series of X100 rangefinder-style cameras: the X100F. The X100F features an updated sensor, revamped autofocus system, larger battery and tweaked ergonomics. We met with Fujifilm recently and got our hands on a pre-production sample. Click through for a quick product tour.

The Canon EOS 5D series is arguably one of the most recognizable camera lines of the digital age and the Mark IV is designed to appeal to the same wide range of enthusiasts and professionals. Nearly identical-looking to its predecessor, it receives substantial upgrades under the hood, including: a higher-resolution sensor with Dual Pixel autofocus, 4K video capture, an upgraded AF system, a touchscreen, improved weather-sealing, built-in Wi-Fi/NFC, an interval timer and GPS. All this adds up to a camera that fits into Canon's product line nicely as the all-around full-frame option.

It is built around a new 30.4MP CMOS sensor and uses the Digic 6+ processor. The AF system is from the flagship 1D X Mark II and contains 61 AF points (41 of which are cross-type) with up to 24% expanded vertical coverage compared with the system in the Mark III. The center point is sensitive to -3EV in One Shot (AF-S) mode (in Live View the sensor is sensitive to -4EV with a fast lens).

4K video capture is a welcome addition to this camera and users can record in either 24 or 30p, albeit with a 1.64x crop. All footage is captured as Motion JPEG. Additionally, the camera allows for 4K Frame Grabs, effectively giving users 30 fps stills shooting with (Dual Pixel) AF. We've seen that the camera suffers from some rolling shutter, but it may still have some merit for capturing the decisive moment when 7fps just isn't enough.

While developing the IV, Canon says it sought feedback from 5D-series users and found that dynamic range, resolution, AF precision and AF speed were the four most important areas improvements were requested. On paper, the Mark IV seems to address these aspects nicely.

Following Fujifilm's strategy Sony started the FE system by releasing mostly high priced lenses first. Regarding their comparatively expensive full-format cameras, this was certainly a sensible approach. However, now that the initial quality rush is over, Sony is beginning to offer more affordable lenses for the rest of us. The Sony FE 50mm f/1.8 is one of them. That being said, Sony lenses have never been really cheap. In this case we are talking about the double price tag of its Canon/Nikon counterparts or about 300US$/EUR. That's quite a bit considering the fact that the lens has a simple optical and mechanical design. However, it is 3(!) times cheaper than its in-house mate, the Zeiss FE Sonnar T* 55mm f/1.8 ZA, so there's still a certain point for Sony users.

The Nikon D500 is a 21MP APS-C DSLR capable of shooting at up to 10 frames per second and featuring an autofocus system derived from the one in the D5. In other words, it’s exactly the kind of high-end DX format body that appeared to have become extinct with the D300S.

The six-and-a-half years that have passed since the D300S’ launch have seen the camera market move on considerably but the D500 does much to reclaim the position as one of the pre-eminent APS-C camera on the market.

As you might expect, much of the improved capability of the camera centers around sports and high-speed shooting, with significant upgrades to the shooting rate and autofocus system, but there are also major upgrades to the viewfinder, video capabilities and connectivity options which expand its utility beyond one particular niche.

I admit, I'm generally not much of a camera strap user. Oh sure, I have a few straps, but they tend to be utilitarian affairs more there for emergencies or #dadlife convenience ('What do you mean your feet hurt and I have to carry you the rest of the way through the zoo?'). Even when I was in the thick of my years as a working pro, I tended to work out of a bag far more often than I worked off my shoulder.

That said, shoulder straps have a lot going for them. They protect your camera from accidental drops, allow you to use both hands without putting your camera away, provide a way to keep multiple bodies at hand and the ease of access they offer cuts down on shots missed because you were digging your camera out of a bag or pack. So when I was asked to take a look at the Slide sling strap from Peak Design, I figured it was time to give straps another try.

Several of the currently offered manual focus Zeiss Z-series lenses are based on fairly old designs, and that remains true even though Zeiss recently started to relaunch some of them as Milvus lenses featuring a way more modern look, still often housing the old optical designs, though. However, there are some newly developed lenses in the Zeiss portfolio, one of them being the Distagon T* 25mm f/2.The Distagon T* 25mm f/2 is available in Nikon F and Canon EF mount. Apart from the lack of AF, it is a fully coupled lens, so a camera-controlled aperture, focus confirmation and EXIF data is supported.

The Distagon is, obviously, a moderate ultra-wide angle lens with typical applications such as landscape, street and architecture photography. It is, however, not exactly a budget item and competes with two current Nikkor lenses: the AF-S 24/1.4 and the recently announced AF-S 24/1.8, the former being considerably faster than the Zeiss and the latter way more affordable. And both feature autofocus on top.

Sharing your scoops to your social media accounts is a must to distribute your curated content. Not only will it drive traffic and leads through your content, but it will help show your expertise with your followers.

Integrating your curated content to your website or blog will allow you to increase your website visitors’ engagement, boost SEO and acquire new visitors. By redirecting your social media traffic to your website, Scoop.it will also help you generate more qualified traffic and leads from your curation work.

Distributing your curated content through a newsletter is a great way to nurture and engage your email subscribers will developing your traffic and visibility.
Creating engaging newsletters with your curated content is really easy.